La bottega del caffè (Goldoni)

  • Eugenio, businessman
  • Vittoria, his wife
  • Count Leandro / Flaminio, Scammers and cheaters
  • Lisaura, dancer and lover Flaminios
  • Placida, Flaminios Wife
  • Pandolfo, casino owners
  • Don Marzio, nobleman from Naples
  • Ridolfo, coffee house owners
  • Trappola, friend of Ridolfo

The coffee house ( original title: La bottega del caffè ) is a prose comedy in three acts by Carlo Goldoni, which was created in April 1750 and was first performed on 2 May 1750 in Mantua.

Action

The scene is a small square, a Piazzetta in Venice, where a casino, an inn, and a cafe are located, which is led by the righteous Ridolfo, a former servant who has his own business with the help of his old employer.

To him and his clients, the piece turns: around the young businessman Eugenio, son of Ridolfo's former bread men who gambled away his fortune and his young wife Vittoria neglected. Therefore, he is at odds with her. He continually from Flaminio is from Turin, which occurs when Count Leandro and the inexperienced Eugenio decreases the money in gambling, cheating. The dancer Lisaura who has the wrong Count Leandro promised to marry, although he is married to Placida, represents the next action figure dar. Other players are before the greedy casino owners Pandolfo and finally the intrusive, loquacious Don Marzio, a Neapolitan nobleman, who himself slander does not shrink.

After a boozy night at the game Eugenio comes in a bad mood to the cafe. He has once again lost everything, yes he even still needs to pay gambling debts. In the plight of good coffee house owners Ridolfo jumps, makes Eugenio but reproaches for his dissolute life change. As appears, disguised as a pilgrim, the unfortunate Placida, who suspects her husband Flaminio blown in Venice.

Eugenio offers her his help and bring them under in the hostel. Meanwhile, also Vittoria has made in protecting a mask costume on a search for her Eugenio. With horror, she sees that he has pledged her earrings to Don Marzio, who is now around everywhere. The adventitious Eugenio does not recognize his masked woman and she wants to invite, to which she reveals his identity and threatens to leave him and reclaim her dowry. Eugenio is still far from being cured of his truck and soon again forced to beg for money.

Also this time the faithful Ridolfo proves to be knights in shining armor, although this only causes the Incorrigible again returns to the game table. When he wins a small sum, he invites all present generously to eat. But overall enjoyment in the Round Table is disturbed by the appearance of Placida, which has recognized from outside the voice of her faithless Flaminio. The desperate attempts Vittoria reappears on the scene and offers her husband brave forehead as he wants to lash out against them.

In the general confusion, it is the good Ridolfo again, creates peace and the quarreling couple reconciles. Meanwhile, the gambling den owner Pandolfo fraudulent activities is suspected and can be converted thanks to the talkativeness of Don Marzio. Pandolfo ends up in jail; but the general resentment is not against him but against the informers, who now, as a "spy" denounced, the city must leave under disgrace.

Importance in the overall work of Goldoni

Primarily it was Goldoni intention is to present the colorful and lively atmosphere of a civil society in the first place. His next goal it was after the moderate success of the previous piece ( in the translation of the 18th century, the vengeful women, but is probably meant women's gossip, I delle donne pettegolezzi ) to uphold the " unity of place ", although he continued to his success doubted:

" This time the relentless critic will probably have to be content with me; but they will also be-ing with the unity of actions? If they do not find that the substance of the piece composed, and the interest is divided? "He saw himself as lucky because he had managed to set several activities in one place in a much connection.

John Hösle arranged Carlo Goldoni in this context as follows: " The Venetians indeed has rarely like the great French Enlightenment taken polemical and committed to social issues and conflicts of his time position, but he did what few others can put into action on the stage. " Hermann Wiegmann also saw Goldoni with this comedy " as a theater man through and through. "

Thus Goldoni is still no modern playwrights in the strict sense, it is, however, always aware of the criticism still eminently dominated by the nobility conceit social climate of his native city of Venice apart.

Goldoni himself was impressed by the success of his play: " This comedy was a brilliant applause: the union and the contrast of the characters could not fail to impress. The character of the Verläumders was indicated on several well-known people. " One of these people would have been particularly indignant against him and even threatened him with a duel. As it was, however, rather curious about the promised Goldoni 16 pieces in a year, gave the supposedly offended him " magnanimously " life.

Background of this statement Goldoni was his " tour de force " when he his impresario Medebach contractually promised the production of 16 new plays at the Teatro Sant ' Angelo in the season 1750/51 - including some of his best works, in addition to the said La bottega del caffè also Il bugiardo ( The Liar ).

Reception

Already Gotthold Ephraim Lessing felt that Voltaire in his play The coffeehouse or Schottländerin significant bonds have done in Goldoni, so Don Marzio is the " archetype of the Frelon ". Would Marzio, however, only "bad guy ", it should be Frelon " at the same time a wretched scribbler ", Voltaire have derived from a hated himself journalists similar name. In the modern social analysis of the role of Don Marzio however, one can also conclude that this is the " expropriation of the language " to the " primary engine of destructive action ," would but without which the piece does not know his resolution.

Dino Buzzati was in his novel Un amore (1964 ) La bottega del cafe experience a conscious appreciation: When Antonio Laide wants to go in her apartment, he does not hit on them. To pass the time, he flips briefly in a Topolino comic and looks on TV said to piece.

Antonella Wittschier then sees the parallels between the two works. " The Venice of the settecento and the metropolis of the Novecento Milan are also on a ( ... ) north Italian axis of dominance, the progressive and the future. " By Buzzati for his protagonist Antonio Dorigo selects the display format of the popular television, he begins to speak signal for literary modernism.

German -speaking actor who had particular success with the roles of the play, for example, were Hans Otto mid-1920s as Eugenio in the intimate theater in Hamburg, the character actor Erich Fiedler as Count Leandro during the 1930s in the ensemble of the Komische Oper in Berlin or Margit Carstensen 1969 in the role of Vittoria. Other performers who explicitly refer in their Vita on their role are Michael Dangl, Nicolaus Johannes Heyse, Winfried Hübner and Uwe- Karsten Koch.

In photography and poster art, the piece in 1970 Frieder Grindler for the Tübingen Zimmertheater based on that developed by John Heartfield imagery in a dramatic photo - real assembly suggested that in the case of a Close- up of a female mouth the dripping spout of a coffee pot stood out. At an exhibition at the Museum Folkwang in Essen in May 2011 this was highlighted in an exhibition on the poster art Frieder Grind coupler and Volker Pfüllers.

Adaptations

A first television adaptation was made in German-speaking countries in 1964 by Hermann Leitner, embodied in the Christian Wolff to Eugenio, Monika Peitsch the Vittoria and Hans Clarin, the supporting role of Trappolo.

Rainer Werner Fassbinder adapted the piece as a result of its anti-teater concepts both for the stage and for television. The piece learned in the modernized staging of Fassbinder and Peer Raben in September 1969 at the Schauspielhaus in Bremen with performers from Bremen and the antiteater group in particular, a reinterpretation of the role of Don Marzio, the more became a melancholy figure in the style of Arthur Schnitzler's with him. The play was the basis for the television production, which was captured on video in a studio of the WDR in Cologne in February 1970. Thus, it was Fassbinder's sixth feature film. Contributors to the television productions were Margit Carstensen ( Vittoria), Ingrid Caven ( Placida ), Hanna Schygulla ( Lisaura ), Kurt Raab ( Don Marzio ), Harry Baer ( Eugenio ), Günther Kaufmann ( Leander ), Peter Moland ( Pandolfo ) and Peer Raben ( Ridolfo ). Aired production was the first time on 18 May 1970 WDR 3 ( more shows in the Hessischer Rundfunk Bayerischer Rundfunk and followed ) and sold to Italy, Poland, France and the United States.

New insziniert was Fassbinder's adaptation of Goldoni's 300th birthday in advance in 2006 as part of the 38th Biennale di Teatro in Venice at the Teatro delle Tese Vergini by Ferdinando Bruni and Elio de Capitani.

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